Echolyn and American progressive rock
Bibliographic Data
| ID | 4936599 |
|---|---|
| Authors | John Covach (corresponding author) |
| Year | 2000 |
| Volume | 18 |
| Issue | 4 |
| Pages | 13-61 |
| Publication date | 2000-01-01 |
| Open Access | No |
| Type | ARTICLE |
| Venue | Contemporary Music Review (JOURNAL) |
| Journal identifiers | ISSN: 0749-4467 • E-ISSN: 1477-2256 |
| Publisher | Informa UK Limited (PUBLISHER • GB) |
| DOI | 10.1080/07494460000640031 |
| OpenAlex | W2016115339 |
| Language | EN |
| Citations received | 5 |
| References cited | 5 |
Beginning in the late 1960s and continuing through most of the 1970s, British progressive-rock groups developed a style of music that privileged long, complicated pieces, employing a wide variety of musical techniques and features drawn from classical music. While the leading progressive rock groups were British, progressive-rock groups also formed in the United States. This study provides an overview of American progressive-rock bands since 1966, examining how these musicians attempted to blend elements of European art music with rock music. Musical excerpts from Starcastle, Kansas, Happy the Man, However, and U-Totem and others are considered. Recent music from the Philadelphia-band progressive-rock quintet echolyn is placed in the context of 1970s and 80s American progressive rock; analysis of portions of A Suite for the Everyman (1992) and Letters (1995), informed in part by scores and sketches provided the author by the group, detail how echolyn employs artmusic compositional techniques in a rock setting in a way that blends “symphonic-prog” and “avant-prog” approaches
Archaeology · Art · Classical music · Literature · Musical · Popular music · Rock art · Rock music · Symphony · Totem · Visual arts · History · Music History and Culture · Music Technology and Sound Studies · Musicology and Musical Analysis · Geology
| Citations per year | 0.33 |
|---|---|
| Citation span | 2011 - 2025 (15) |
| Highly cited | No |